Psychological Depth Quotes

I suppose that the sympathetic/unsympathetic debate about characters sometimes feels to me like a misstatement of purpose. I always think of truly complex characters are falling between the cracks in that debate.

The privilege of a lifetime is beingwho you are.The goal of the hero tripdown to the jewel pointis to find those levels in the psychethat open, open, openand finally open to the mystery of your Selfbeing Buddha consciousnessor the Christ.That's the journey.

We may know ourselves, and yet even with all the efforts we make, we do not know ourselves. We know our fellowman, and yet we do not know him, because we are not a thing, and our fellowman is not a thing. The further we reach into the depths of our being, on someone else's being, the more the goal of knowledge eludes us.

I'm saying that the depth of exploration of the male psyche and the female psyche is uneven. I see further, deeper renderings of what it means to be a man.

In all chaos there is a cosmos, in all disorder a secret order... we are caught and entangled in aimless experience... Only when all props and crutches are broken, and no cover from the rear offers even the slightest hope of security, does it become possible for us to experience an archetype that up till then had lain hidden behind the meaningful nonsense played out by the anima. This is the archetype of meaning, just as the anima is the archetype of life itself.

I'm interested in writing that explores all sides of human beings.

Part of acting is having the security to turn yourself loose and let yourself go in order to reach whatever depths a character has. If your guts aren't hanging out there, you don't offer anything.

Cinema’s characteristic forte is its ability to capture and communicate the intimacies of the human mind.

All my work is partly biographical. I mean, 'Crash' was absolutely that, absolutely. But you just wouldn't recognize me in most of those characters. But I was in every single one of those characters in 'Crash,' because those were all fears that I had felt. Things that I had thought in my deepest, darkest heart.

I've been wondering about Dostoyevsky. How can a man write so badly, so unbelievably badly, and make you feel so deeply?

It is never possible to understand completely any other human being; and no individual will ever really understand himself - the complexity is too great and there is not the time to constantly take things apart and examine them.

The dream is a little hidden door in the innermost and most secret recesses of the soul, opening into that cosmic night which was psyche long before there was any ego-consciousness, and which will remain psyche no matter how far our ego-consciousness extends.

There is more meat and mileage in complex characters, like 'Running with Scissors.'

Science, literature, and common sense tell us that the self is a fickle thing, subject to revision in real time, and that the chasm that exists between any two people exists inside each and every one of us.

Edgar Allan Poe is amazing because he was so dark. He's from Baltimore and so cynical that you can feel it when you're reading, it feels so honest.

Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.

I'm attracted to playing people who aren't necessarily straightforward.

I never appreciated 'positive heroes' in literature. They are almost always cliches, copies of copies, until the model is exhausted. I prefer perplexity, doubt, uncertainty, not just because it provides a more 'productive' literary raw material, but because that is the way we humans really are.

Now for the hitch in Jane's character,' he said at last, speaking more calmly than from his look I had expected him to speak. 'The reel of silk has run smoothly enough so far; but I always knew there would come a knot and a puzzle: here it is. Now for vexation, and exasperation, and endless trouble!

I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.

I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.

I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless.

The conscious mind allows itself to be trained like a parrot, but the unconscious does not — which is why St. Augustine thanked God for not making him responsible for his dreams.

I wouldn't call the Joker exactly easy to write.

I take it as a real compliment that people believe that I can in some ways mine the disenfranchised, the marginalized, the somewhat off-center - psychologically speaking - people in our society, and bring a real humanity to them, and make people see what would otherwise be a person that you would hate. Find a reason to love them and see the world from their point of view.